Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malawi and from Jakarta.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1970.
I'm losing my edge.
To all the kids in Spokane and Salvador.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing 48th St. Collective to the dance kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Crime. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Siouxsie and the Banshees,
David Axelrod,
It's A Beautiful Day,
JFA,
Ash Ra Tempel,
Gang Gang Dance,
The Music Machine,
Ajijia Myrayebe,
Popol Vuh,
The Cowsills,
Sound Behaviour,
Eden Ahbez,
Josef K,
B.T. Express,
Eli Mardock,
Aural Exciters,
Roy Ayers,
D'Angelo,
Rosa Yemen,
The Victims,
Janne Schatter,
Liaisons Dangereuses,
The Detroit Cobras,
Saccharine Trust,
Livin' Joy,
Moss Icon,
Pantytec,
Surgeon,
Goldenarms,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Byron Stingily,
Donny Hathaway,
The Divine Comedy,
H. Thieme,
Jeru the Damaja,
Marc Romboy vs. Booka Shade,
OOIOO,
Oneida,
The Smiths,
kango's stein massive,
Parry Music,
Sister Nancy,
Magma,
Agitation Free,
Todd Terry,
Schoolly D,
Notorious Big And Bone Thugs,
Flash Fearless,
Absolute Body Control,
Aaron Thompson,
The Kinks,
The West Coast Pop Art Experimental Band,
The Walker Brothers,
Procol Harum,
Franke,
Nirvana,
The Mighty Diamonds,
Bobby Sherman,
Deutsch Amerikanische Freundschaft,
The Searchers,
Theoretical Girls,
Brick, Brick, Brick, Brick.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.